ALBERT H. KREHBIEL, (1873-1945),
was a monumentally talented artist, professor and muralist. Krehbiel painted an amazing body
of work, ranging from neo-classical to impressionism to more modernistic pieces. The media
ranged from charcoal and pastels to watercolors and oils. He was an intensely driven yet gentle
artistic genius. He summed up his life in a letter to his sister stating ”… since consistent work is
bound, in my line, to produce something lasting, I hope someday to give pleasure to others in
helping them to fish up some pleasant recollection that had most slipped away in the past.”
Albert Krehbiel is a son of a blacksmith and buggy maker. He was born in Denmark, Lowa and
grew up in Newton, Kansas. His artistic talent was discovered by the director of the Art Institute
of Chicago, William Merchant R. French, during one of his lecture tours an he encouraged
Albert to enroll at the Art Institute. Within a few years of enrolling, Krehbiel was awarded a
traveling scholarship which enabled him to study abroad under the greatest of the European
artists, including Jean Paul Laurens at the L’Academie Julian in Paris where he received honors
seldom bestowed on Americans. In spite of his success in Europe, he returned to the United
States in 1906 with four gold medals and upon his return he married fellow artist and classmate
from the Art Institute, Dulah Marie Evans, and was offered a full-time faculty position at the
Institute. In 1907 he was awarded a commission to paint an 11 wall ans two ceiling murals for
the Supreme Court building in Illinois. It took Albert and Dulah four years to complete the
historical and allegorical works which reflects a neoclassical design elements. These were the
last works Krehbiel completed in the traditional style of his academic training, opting instead for
plein air landscapes, painting from life.
ARTWORKS
ATTRIBUTES OF LAW (EAST WALL ABOVE THE SUPREME COURT BENCH):
● Wisdom of the Law
○ The seated woman points at tablets held by two cherubs who represent the
attributes of learning and experience. The cherub on the left looks downward with
an expression of uncertainty that can only be remedied through learning. The
cherub on the right looks onward with an expression of confidence that can only
come from years of experience.
●
Justice of the Law.
○ The seated woman holds the scales of justice in her left hand while resting her
right hand on an orb. The four cherubs that surround her represent the attributes
of faith and inspiration and patience and courage. On the left of Justice, Faith is
featured with outstretched arms looking to the heavens above, while Inspiration
stands rigidly facing Justice with a finger pointing to the sky suggesting an
epiphany that has come to the cherub. On the right of Justice, Patience stands in
a relaxed position facing Justice with hands neatly folded in front, while
Courage’s head turns toward Justice with his arms flexed. The scales of justice
cannot be properly measured without faith and inspiration and patience and
courage.
●
Power of the Law.
○ The seated woman has a book of law in her lap with her right hand lying on top.
In her left hand she grips a sword, symbolizing power. The positioning of her
hands on the two objects suggests the connection between law and power. The
two cherubs represent the attributes Prudence and Fortitude. The cherub on the
left represents Prudence, which is the ability to exercise sound judgment. The
cherub on the right holds a shield in its right hand with a clenched fist, each
action suggesting the Fortitude of law.
FUNCTION OF THE LAW (SOUTH WALL IN SUPREME COURT)
● Law Promotes Truth and Purity.
○ The first mural, on the far left, portrays two figures that represent two qualities of
humanity that are promoted by law: Truth and Purity. Truth is represented by a
woman holding a mirror in her left hand and an orb in her right. Both objects
suggest that truth is revealed by law. Purity is represented by a woman dressed
in white, holding white flowers in her right hand. The color white is often
connected to the quality of purity.
●
Law Protects Industry and Peace.
○ The second mural portrays two figures that represent two qualities of humanity
that are protected by law: Industry and Peace. Industry is represented by a man
wearing a workman’s apron, gripping a sledge hammer in his right hand, and
sitting next to a metal gear. Peace is represented by a woman who gazes lovingly
at a dove that she holds in her left hand while offering an olive branch to Industry
with her right hand. While law protects Peace, Peace will allow Industry to
prosper.
●
Law Discloses Fraud and Discord.
○ The third mural, above the clock, portrays two figures that represent two qualities
of humanity that are disclosed by law: Fraud and Discord. Fraud is represented
by a woman who slyly covers her face under a cloak while shifting her eyes as if
she is about to perpetrate a fraud on a victim. Discord is represented by a
woman, also hiding her head under a cloak, tightly gripping the tails of two
snakes that appear to have become knotted together in anger
●
Law Destroys Violence and Anarchy.
○ The fourth mural portrays two figures that represent two qualities of humanity that
are destroyed by law: Violence and Anarchy. Violence is represented by a man in
a brown cloak. In his right hand he grips a knife that is hidden behind his back as
if he were sneaking up on a victim. Anarchy is represented by a man gripping a
torch in his left hand, while at the same time he draws back to throw a large
stone with his right hand. Both figures have a look of anger and hatred.
CONTINUITY OF LAW (WEST WALL IN SUPREME COURT)
● Tradition.
○ The mural on the far left features an aged druid with a long beard. The druid
represents the age-old tradition and practice of law. Druids were thought to be
the guardians of unwritten ancient law and empowered to execute judgment
●
Precedent, Justice, and Record.
○ The center mural features three women, each representing one of these three
qualities of law. Precedent is seated on the left. She holds a burning oil lamp,
representing knowledge, in her right hand. Justice is seated in the center, but she
is not holding scales, as Justice is typically portrayed. Instead, Justice is holding
burning torches, representing enlightenment. Record is seated on the right. She
is featured with a pen in her right hand and a record book on her left, recording
proceedings for posterity.
●
Written Law.
○ The mural on the right mural features Edward the First, also known as Edward
the Lawgiver. Edward took great interest in the workings of his government and
under took a number of reforms. During his reign, the first of a se ries of codes of
law were issued. In his right hand is a written document, representing the codes
of law that were issued.
●
Supremacy of the Law.
○ The large ceiling mural symbolizes the principles of law that serve to harmonize
the universe. Good and evil are presented in the center, surrounded by storm
clouds. A circle of four laws is displayed surrounding the center: First, Law of
Love is represented by a mother and child; Second, Law of Self-Preserva tion is
represented by a figure who is warding off impending danger; Third, Law of Life
and Death is represented by Death pursuing Life; and Fourth, Law of Evolution is
represented by two figures rising out of darkness toward light.
APELLATE COURT:
● Law and Equity
○ Appellate Court of the Illinois Supreme Court Building,
○ Springfield, Illinois, 1907-1911, 10 ft. x 16 ft, oil on canvas.
○ Law and Equity. The large wall mural displays a seated female figure
representing Law with a standing female figure holding scales representing
Justice. Above them is an inscription from Thomas Jefferson: “Equal and exact
justice to all men of whatever state or persuasion, religious or political.” Two
groups of men stand at each side representing the church and agriculture on the
left side and wealth, education, and industry on the right side. Sitting on the steps
below Law and Justice are a young family with two small children on one side
and a widow and orphans on the other side
●
Light of the Law
○ Ceiling mural in The Fourth District Appellate Court of the Illinois Supreme Court
Building,
○ Springfield, Illinois, 1907-1911, 16 ft. x 26 ft, oil on canvas.
○ “From the center radiates the Light of the Law, around which cluster graceful
figures offering torches to the four groups of figures arranged along the border,
each symbolizing a tenet of American jurisprudence: Common Law and the Light
of Reason, represented by Alfred the Great (right); Canon Law and the Light of
Inspiration, represented by Pope Gregory IX(up); Civil Law and the Light of
Order, represented by Justinian I (left); and Mosaic Law, represented by Moses
(down)
ANSELM FEUERBACH
Anselm Feuerbach (September 12, 1829 January 4, 1880), German painter, born at
Speyer, the son of a well-known archaeologist, was the leading classicist painter of the German
19th-century school. He was the first to realize the danger arising from contempt of technique,
that mastery of craftsmanship was needed to express even the loftiest ideas, and that an
ill-drawn coloured cartoon can never be the supreme achievement in art. After having passed
through the art schools, he went to Antwerp and subsequently to Paris, where he benefited by
the teaching of Couture, and produced his first masterpiece, "Hafiz at the Fountain" in 1852. He
subsequently worked at Karlsruhe, Venice (where he fell under the spell of the greatest school
ol colourists), Rome and Vienna. He was steeped in classic knowledge, and his figure
Compositions have the statuesque dignity and simplicity of Greek art. Disappointed with the
reception given in Vienna to his design of "The Fall of the Titans" for the ceiling of the Museum
of Modelling, he went to live in Venice, where he died in 1880.
His works are to be found at the leading public galleries of Germany; Stuttgart has his
"Iphigenia"; Karlsruhe, the "Dante at Ravenna"; Munich, the "Medea"; and Berlin, "The Concert",
his last important picture. Among his chief works are also "The Battle of the Amazons", "Pieta",
"The Symposium of Plato", "Orpheus and Eurydice" and "Ariosto in the Park of Ferrara".
The battle of Amazons II
The devastating battle for the city of Troy is depicted in this dramatic historical painting, which is
overflowing with figures. According to Homer, the Amazons, led by Queen Penthesilea, came to
the aid of the Trojan king Priamos, who was forced to defend himself against the Greeks led by
King Menelaus. Penthesilea is killed in battle by Achilles, who falls in love with her while
removing the dying woman's helmet. In Feuerbach's painting, the beautiful Amazon can be seen
in the foreground, with bare chest and precious arm decoration and headdress. In contrast to
traditional depictions of the historic battle, artist Anselm Feuerbach places the fallen and dead at
the center of the action, rather than the heroes, reminding us of the intractability of violence.
This monumental painting is as relevant today as ever. In Feuerbach's opinion the "Battle of the
Amazons" is one of his most important works.
Nanna
c. 1861
Oil on canvas, 74 x 56 cm
Wallraf-Richartz-Museum, Cologne
“Nanna” – one of the works written by Feuerbach in Italy and captured the famous
model Nunnu Rizi, in the interpretation of the image which felt some mannerism, passion for
“beauty”, characteristic of salon painting. Feuerbach, giving a dramatic image of Nanna, created
a generalized type of proud Roman woman. He believed that in her he had found the
embodiment of classical ideals of beauty and so she sat for him for a series of mythological,
religious and literary subjects.
Gastmahl des Plato
Anselm Feuerbach directed all his efforts towards banishing the subjective from his work
and striving for classical ideals. A separate hall in the Kunsthalle Karlsruhe is dedicated to his
works. Among them is Feuerbach's monumental main work, "Das Gastmahl des Plato".
In 1867 Feuerbach began work on the almost three-by-six-metre painting, which he had
been working on since 1860 and which he finally completed in 1869. The material for this was
provided by the ancient work "Symposion", in which the Greek philosopher Plato examines the
nature of Eros.
The picture, decorated in cool, marble colors, depicts the scene of a festive gathering in
the house of the tragedy poet Agathon. He has just received an award for a piece of what he
celebrates with his friends. While they are immersed in a serious conversation, a loud and
cheerful train enters the stage from the left: the drunken young Alkibiades, almost naked.
Alcibiades, shown as a homoerotically-charged young man. His right arm is cast around a
partially unclad female companion, and he brings with him a group of revellers, including
another partially undressed woman with a tambourine. Alcibiades himself is framed by a pair of
putti, the nearer with a wreath, the other with a double flute.
Standing in the centre, Agathon welcomes the group, and wears the laurel crown of his
victory. Around him, to the right, are the other figures of Phaedrus, Pausanias, Eryximachus,
Aristophanes, Aristodemus, and Socrates, perhaps Plato too which are thought to be busy
discussing the nature of Eros
In one of the readings I have read, Alkibiades is interpreted as both Eros and Dionysus
which is to say the basic human desires for food, drink, and sex. While Agathon was depicted to
represent aesthetic values “noble simplicity”, quiet grandeur, stillness, and well-mannered
because despite the tumult Alkibiades brought, he still managed to act calmly in the situation
and welcome the guests with dignity and serenity.
Gastmahl des Plato II
This first version of what Feuerbach considered his masterwork was not well received.
He therefore developed a second version (third if you count the watercolour sketch of 1865-6),
which was completed in 1874.
Even at first glance, it is obvious that the second version (1871-1874) is much more
opulent in its decoration. The scene is framed by a mighty painted gold frame decorated with an
egg stick. Richly hung with seemingly plastic garlands of flowers and fruit, butterflies, bucrania,
shells, masks and lyres which continues the painting. The frame is particularly exciting because,
on the one hand, part of it protrudes into the actual painting and, on the other hand, objects from
the painting overlap the frame or rest on it.
An interesting component was added in the second version is that of Victoria, the
goddess of victory, in the wall niche. In the context of Prussia's victory in the Franco-Prussian
War at the time, she seems to add a German-national, patriotic note to the painting.
Furthermore, Victoria could be interpreted as a reference to reality.
Ruhende Nymphe
The composition of the Resting Nymph is based on the type of the Sleeping Venus (1510,
108x175cm; 732x1028pix, 149kb) by Giorgione — an embodiment of nature at rest. Feuerbach
expresses the woman’s divine soul through the motif of the butterfly. He placed the butterfly - in
antiquity a symbol of the soul and its longing for divine origin asin the central axis of the
composition. Instead of a spring or a fountain, he associates the nymph with the vastness of the
sea, thereby emphasizing the desired impression of mythological grandeur.
JACQUES-LOUIS DAVID
Jacques-Louis David, (born August 30, 1748, Paris, France—died December 29, 1825,
Brussels, Belgium), the most celebrated French artist of his day and a principal exponent of the
late 18th-century Neoclassical reaction against the Rococo style.
His father, a small but prosperous dealer in textiles, was killed in a duel in 1757, and the
boy was subsequently raised, reportedly not very tenderly, by two uncles. After classical literary
studies and a course in drawing, he was placed in the studio of Joseph-Marie Vien, a history
painter who catered to the growing Greco-Roman taste without quite abandoning the light
sentiment and the eroticism that had been fashionable earlier in the century. At age 18, the
obviously gifted budding artist was enrolled in the school of the Royal Academy of Painting and
Sculpture.After four failures in the official competitions and years of discouragement that
included an attempt at suicide (by the stoic method of avoiding food), he finally obtained, in
1774, the Prix de Rome, a government scholarship that not only provided a stay in Italy but
practically guaranteed lucrative commissions in France.
The quintessential Neoclassical painter, David's monumental canvases were perhaps
the final triumph of traditional history painting. Adopting the fashionable Greco-Roman style,
David blended these antique subjects with Enlightenment philosophy to create moral exemplars.
His linear forms dramatically illustrated narratives that often mirrored contemporary politics. As
the premier painter of his day, David served the monarchy of Louis XVI, the post-revolutionary
government, and the Emperor Napoleon Bonaparte, despite the radical differences in these
ruling regimes. He also ran an important studio where his students would later rebel against his
example, sowing the seeds of modernism.
Oath of the Horatii,
The Oath of the Horatii depicts narrative from early Roman history. On the left, three
young soldiers reach toward their father, pledging to fight for their homeland. They appear
resolute and unified, every muscle in their bodies is actively engaged and forcefully described,
as if to confirm their selflessness and bravery. These Roman Horatii brothers were to battle
against three Curatii brothers from Alba to settle a territorial dispute between their city-states.
They are willing to fight to the death, sacrificing themselves for home and family.
Underscoring their moral integrity, David compares their positive example with
weakness. On the right, women and children collapse on each other, overwhelmed by their
emotions and fear. Indeed, the women are more conflicted; one, a Curatii, was married to one of
the Horatii while a Horatii sister was engaged to another of the Curatii. As they watch this
dramatic pledge, they understand that either their husbands or their brothers were going to die
and their loyalties are divided. David poses these two family groups, dividing the canvas not
only into male and female roles, but contrasting the heroic and selfless with the fearful and
uncertain.
This clarity is also reflected in the severity of the composition and style; while earlier
artists had begun to mine Greco-Roman narratives as a fashionable trend in art, no other artist
united these stories with David's stylistic minimalism and simplicity. The bare stage-like setting,
organized by the sparse arches in the background, provides no distraction from the lesson
being taught. Every figure and object in the painting contributes to this central moral.
Indeed, David even invented this scene to most concisely convey the essence of the
narrative and its moral implications. In neither the written history, nor the 18th-century stage
production of this story, do the sons pledge an oath to their father. David added this element
because it allowed him to condense the larger epic into a singular moment, and to create the
strongest possible emotional charge.
The enthusiastic reception of this painting at the Salon cemented David's reputation as
the leading artist in the new Neoclassical style. Although the work was his first royal
commission, and its emphasis on selflessness and patriotism was conceived with the monarchy
in mind, its depiction of fraternity and heroic sacrifice would soon resonate with the French
Revolution of 1789.
Oil on canvas - Musée du Louvre, Paris
The Death of Socrates
Another narrative of stoic self-sacrifice and dignity, David presented the suicide of
Socrates as an admirable and noble act. Set in the bare scene of his prison cell, the muscular
body of the aged philosopher is meant to convey his moral and intellectual fitness. He sits
upright, preparing to swallow the bowl of poisonous hemlock without any hesitation or
uncertainty; he would rather die than renounce his teachings. His arm is raised in an oratory
gesture, lecturing until his last moment, while his students demonstrate a range of emotional
responses to his execution.
David's painting draws from Plato's account of the event, linking this painting with a
classical source; yet, as in The Oath of the Horatii, David takes artistic license to manipulate the
scene for greater dramatic effect. He eliminates some of the figures mentioned in Plato's
account and idealizes the aged figure of Socrates, making his message of heroic logic and
intellectualism clear to the viewer.
As tensions rose in pre-revolutionary France, David's depiction of resistance against an
unjust authority quickly became popular. In a letter to the famous British portraitist Sir Joshua
Reynolds, the artist John Boydell claimed it to be "the greatest effort of art since the Sistine
Chapel and the stanza of Raphael."
Oil on canvas - The Metropolitan Museum of Art, New York City
The Coronation of Napoleon or The Coronation of the Emperor and Empress
The December 2, 1804 ceremony that named Napoleon Bonaparte Emperor of France
was an elaborately choreographed affair. Wanting to recreate Charlemagne's coronation as Holy
Roman Emperor, the presence of the Pope was requested. Famously, at the last moment,
Napoleon took the crown from Pius VII hands and crowned himself; but this audacious act was
not the subject of David's monumental painting, The Coronation of the Emperor and Empress.
Instead, David chose the less controversial moment when Napoleon crowned his wife,
Josephine, in front of a crowd of dignitaries in Notre Dame Cathedral. The epic scale of this
painting (at nearly 30 foot long, the majority of the portraits were life-size) spoke to Napoleon's
desire to legitimize his reign through displays of grandiose power.
David characteristically enhanced the actual event to greater dramatic effect. For
example, Napoleon's mother appears as a central figure at the event, seated in one of the main
boxes, although she was not actually present at the coronation. Details of the opulence and
magnificence of the event, however, were carefully recorded to create a document attesting to
Napoleon's political power. Napoleon does seem to upstage the Pope here, too, as the center of
attention and the most active figure in the composition. With this highly prestigious commission,
David not only reasserted himself as a leading painter in France, but in its abundance of detail
and contemporary nature, he demonstrated his ability to manipulate his classical style to suit
very different depictions.
The Death of Marat
Once more turning to contemporary politics, David was commissioned to create a
memorial to Jean-Paul Marat following his 1793 assassination by Charlotte Corday. A French
politician, physician, journalist, and a leader of the radical Montagnard faction, Marat had been
murdered while sitting in a medicinal bath that alleviated the symptoms of a painful skin
condition. David's painting combines such factual information (including a legible version of
Corday's deceptive plea, calculated to gain an audience with Marat) along with highly symbolic
elements of propaganda to create an image that elevates Marat to martyrdom. Sometimes
referred to as Marat Breathing his Last, we see the humble workspace of a tireless public
servant: only his bath and a simple box that serves as his writing desk.
This sparse composition forces the viewer to contemplate the body of Marat, which
appears peacefully splayed. The knife wound, visible on his chest, is barely indicated and only
glimpses of the bloody bathwater hint at the preceding violence. Although the Revolutionary
government had outlawed religion, David created a visual analogy between Marat and images
of the dead Christ. The graceful sweep of Marat's arm mirrors Michelangelo's Pieta and other
scenes of the Deposition from the Cross; the white turban wrapped around Marat's head serves
as a proxy for a halo.
David's clear sympathies for Marat and his transformation of the politician into a timeless
martyr made this painting became highly problematic after the fall of the Jacobin government; it
was returned to David in 1795 and remained in his possession until his death. Hidden from view,
it was only rediscovered in the mid-19th century, when it was celebrated by the poet Charles
Baudelaire.
In the 20th century, David's iconic memorial to Marat was a touchstone for artists
engaged with politics. Edvard Munch and Pablo Picasso both did versions of the painting, as did
the Chinese painter Yue Minjun. The socially conscious Brazilian artist, Vik Muniz, used David's
painting as inspiration.
Oil on canvas - Collection of Musées Royaux des Beaux-Arts, Brussels, Belgium
Napoleon Crossing the Alps or Bonaparte Crossing the Grand Saint-Bernard Pass, 20
May 1800
An image of absolute control, confidence, and optimism, Bonaparte Crossing the St
Bernard Pass is a large-scale equestrian portrait of the ruler. Shown heroically conquering this
inhospitable terrain, Napoleon secures his place in history alongside two other generals who
found victory in this same difficult military approach; their names are inscribed on the rocks in
the lower left corner: Hannibal, and Charlemagne.
Napoleon had come to power through a military coup in 1799, declaring himself First
Consul and seizing command. This painting represents this bold general and his ability to
maintain control in the face of chaos and danger. Although the horse rears up on the edge of a
rocky precipice, Napoleon calmly holds the reins in one hand while gesturing forward with his
other arm. The movement of the horse is echoed in the flowing golden yellow cape of
Bonaparte. Everything about the leader suggests a forward trajectory, highlighting his ability to
lead France above the turmoil of the Revolutionary period. While David had supported the
Revolution, he committed himself to the new French leader Bonaparte (who had restored
David's reputation and financial success) and painted many portraits of the general that helped
to legitimize his claim to authority.
This work was commissioned by King Charles IV of Spain, who admired the leader and
was relieved at the restoration of order to neighboring France. The actual moment depicted was
entirely fictitious: although Napoleon led his troops over the Alps, he rode a mule through a
narrow mountain trail (as the soldiers in the distance are shown). Indeed, Napoleon even
refused David's request to sit for the portrait, stating, "No one knows if portraits of great men are
likenesses: it suffices that genius lives." Instead, David used models wearing Napoleon's clothes
to pose for the hero. The painting originally was displayed in the Spanish royal palace, but
Napoleon quickly ordered three copies for himself. David was subsequently named First Painter
to Napoleon in 1801 and he, and his students, would provide official portraits and propaganda
throughout the emperor's reign.
Oil on canvas - Collection of Musée National de Malmaison, Rueil-Malmaison, France
Andromache Mourning Over the Body of Hector
Andromache Mourning Hector was painted way back in 1783. It is this portrait that took
David to Academie Royale elections in 1784, after its presentation on August 1783. The location
of this painting is in the museum Musee du Louvre, in Paris. In this particular work of art,
Jacques Louis David has represented Hector and Andromache in their bedroom. Hector was a
great warrior for his people and Andromache is her wife. They both had a son by the name
Astyanax who is also represented in this painting. Jacques Louis David puts some emphasis on
Andromache by focusing a ray of light to her. With this, it can be concluded that David wanted to
concentrate much on the mourning Andromache.
In this painting, David has represented Andromache with a white long dress that is
half-sleeved, and also she is covering her wig with a white piece of cloth. Andromache is facing
towards the heavens with sorrow and loss very well depicted in her face. Andromache is sitting
on a wooden seat with his son Astyanax between her legs and holding his right arm with her left
arm. She has placed her right arm on the dead body of his husband, maybe wishing that he
would come back to her.
Andromache's sorrow seems to have hit his son too, he might not be understanding that
his father had died, but the sorrow on her mother makes him feel it and try to comfort her
mother. Astyanax is portrayed with a red cloth tied around his neck which could be meant to
cover him from cold, and a long curly hair. He is also holding her mother on the chest and
looking at her face trying to comfort her. Though his look still shows sorrow.
Jacques has also portrayed Hector's dead body lying on a bed that is just next to where
Andromache is sitting. Hector had died after being killed by Achilles during the war. Hector had
sacrificed his life just for the people in his community before he met his death. Jacques-Louis
has depicted Hector's dead body image half-naked and covered with a brown cotton sheet from
his waist to the ankles.
Bust of A Man or Bust of Vincent Coster by Hendrick de Keyser
Elegantly draped over this man’s doublet, the raised collar of which is clearly visible, is a
cloak like those worn by the ancient Romans. This gives the sitter an aristocratic air. Yet it is
only an affluent citizen who is portrayed here: probably Vincent Coster, an Amsterdam ‘wine
gauger’ (someone who calculated the excise duty on wine).
Aeneas tells Dido the misfortunes of the Trojan city.Pierre-Narcisse Guérin
Guérin returned to more conventional history painting with the likes of Aeneas tells Dido the
misfortunes of the City of Troy (c 1815), taken from Virgil’s Aeneid book 4. The hero Aeneas
arrives in Carthage on his epic journey following the fall of Troy. Dido, legendary founder and
first monarch of Carthage, falls in love with Aeneas. After an intense romance, Aeneas is told by
the gods that he must not stay in Carthage, so he leaves with his small fleet of ships.
Abandoned, Dido kills herself on her own funeral pyre.
This painting shows the beginnings of the romance, and does not provide clues – such as the
presence of Aeneas’ ships – of its tragic outcome. The diminutive beauty being embraced by
Dido is probably not intended to be human, although it is unlikely to be Juno or Venus who
acted together to make the love affair happen.
Aurora and Cephalus
The subject of the picture “Aurora and Cephalus” was borrowed from Ovid’s Metamorphoses.
Captivated by the sleeping hunter Cephalus, the goddess of the dawn Aurora carries him away.
In Ovid’s account Cephalus personifies the stars that fade with the sunrise. Guerin gives the
poetic myth a sensual treatment, while the poses and light effects invest the scene with a
conventional, ballet-like character.